Gaza has become a funeral home, 
but there are no seats, 
no mourners, no bodies. 
In the caskets are nothing but 
what remained of the dead’s clothes, 
and on the crumbling walls are clocks 
that have not moved for fourteen months.

A bitter doom they did upon her place:
She might not touch his hand nor see his face
The while he led her up from death and dreams
Into his world of bright Arcadian streams.
For all of him she yearned to touch and see,
Only the sweet ghost of his melody;
For all of him she yearned to have and hold,
Only the wraith of song, sweet, sweet and cold.
With only song to stop her ears by day
And hold above her frozen heart always,
And strain within her arms and glad her sight,
With only song to feed her lips by night,
To lay within her bosom only song—
Sweetheart! The way from Hell's so long, so long!

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
    If this be error, and upon me prov’d,
    I never writ, nor no man ever lov’d.

It’s dusk on a Tuesday in June. A hot wind

       bears down and east. In my room, a stranger’s

hairclip lies like a gilded insect beside the sink.

       Hours later, it’s still dusk; it will be dusk all night.

Last month, I cut the masking tape from a box my mother left

       my sister and me. On the lid, she wrote, Life is hard, not

unbeatable. If I can do it, darlings, so can you. 2 am. A rosy dark

       dusting the window, the heat a ladder into sleep.

Although she feeds me bread of bitterness,

And sinks into my throat her tiger’s tooth,

Stealing my breath of life, I will confess

I love this cultured hell that tests my youth!

Her vigor flows like tides into my blood,

Giving me strength erect against her hate.

Her bigness sweeps my being like a flood.

Yet as a rebel fronts a king in state,

I stand within her walls with not a shred

Of terror, malice, not a word of jeer.

Darkly I gaze into the days ahead,

And see her might and granite wonders there,

Beneath the touch of Time’s unerring hand,

Like priceless treasures sinking in the sand.

October is the treasurer of the year,
    And all the months pay bounty to her store;
The fields and orchards still their tribute bear,
    And fill her brimming coffers more and more
But she, with youthful lavishness,
    Spends all her wealth in gaudy dress,
And decks herself in garments bold
    Of scarlet, purple, red, and gold.

She heedeth not how swift the hours fly,
    But smiles and sings her happy life along;
She only sees above a shining sky;
    She only hears the breezes’ voice in song.
Her garments trail the woodlands through,
    And gather pearls of early dew
That sparkle, till the roguish Sun
    Creeps up and steals them every one.

But what cares she that jewels should be lost,
    When all of Nature’s bounteous wealth is hers?
Though princely fortunes may have been their cost,
    Not one regret her calm demeanor stirs.
Whole-hearted, happy, careless, free,
    She lives her life out joyously,
Nor cares when Frost stalks o’er her way
    And turns her auburn locks to gray.

Your names toll in my dreams.
I pick up tinsel in the street. A nameless god
streaks my hand with blood. I look at the lighted trees
in windows & the spindles of pine tremble
in warm rooms. The flesh of home, silent.
How quiet the bells of heaven must be, cold
with stars who cannot rhyme their brilliance
to our weapons. What rouses our lives each moment?
Nothing but life dares dying. My memory, another obituary.
My memory is a cross. Face down. A whistle in high grass.
A shadow pouring down the sill of calamity.
Your names wake me in the nearly dark hour.
The candles in our windows flicker
where your faces peer in, ask us
questions light cannot answer.

My grandmother kisses
as if bombs are bursting in the backyard,
where mint and jasmine lace their perfumes
through the kitchen window,
as if somewhere, a body is falling apart
and flames are making their way back
through the intricacies of a young boy’s thigh,
as if to walk out the door, your torso
would dance from exit wounds.
When my grandmother kisses, there would be
no flashy smooching, no western music
of pursed lips, she kisses as if to breathe
you inside her, nose pressed to cheek
so that your scent is relearned
and your sweat pearls into drops of gold
inside her lungs, as if while she holds you
death also, is clutching your wrist.
My grandmother kisses as if history
never ended, as if somewhere
a body is still
falling apart.

I thought I would write a novel
about the window with its shadow
set in the two-story house.
Cézanne stands at the sunchoke hedge,
alone and licking a brush
among the tree’s traces of changing shade.
The woman—I named her
and almost saw her—could be
flapping a pillowcase at the shutter
as though fanning a fire
that takes the frame by its walls.
Then, inside, a web-stitch quilt
pulls across a poster bed.
The house would be preparing
for wedding guests, Lacroix in the garden
spading a strawberry plant
to move the woolen roots.
Did Cézanne have nothing
to do with the people
he kept within the roof?—a flat red slant
marked by the slash of branches.
There is a close mess of buttered brushstrokes.
The house set back in dashes of leaves—
a perplexing green—guards a
shadow that could almost come
to memory, the window empty.

            on Gustav Klimt’s painting, 1907-1908

Do you really think if you bend

me, I will love you? You

crack my chin up, your hands

brown pigeons scheming reunion

at my cheek and temple, your jaw

cragged at the end of your thick neck

of longing. I claw onto you

as the only tree here, your

swing. I’m mad for gravity though

I’m bound, diagonally, to

you. Let me. Push from your trunk towards

the edge and my freedom. Leave me

to wither while moss weeps

in the corners, our halo liquid

as yolk, waving from our bodies’ heat,

our divinity melting. My dress

blossoms loudly. You are still

wrestling me closer. If only I could

release to you my mouth just this

once and you would leave me,

but the shadows of your robe are

so haphazard. I know you will try

to smother me again. The poppies scratch. My feet

reach beyond spring.

There is this ringing hum  this
bullet-borne language  ringing
shell-fall and static this  late-night
ringing of threadwork and carpet  ringing
hiss and steam  this wing-beat
of rotors and tanks  broken
bodies ringing in steel  humming these
voices of dust  these years ringing
rifles in Babylon  rifles in Sumer
ringing these children their gravestones
and candy  their limbs gone missing  their
static-borne television  their ringing
this eardrum  this rifled symphonic  this
ringing of midnight in gunpowder and oil this
brake pad gone useless  this muzzle-flash singing  this
threading of bullets in muscle and bone  this ringing
hum  this ringing hum  this
ringing

and you used to be The Richard Bey Show 
and my sister’s spaghetti. Under a friar plum tree, 
a simplified reading of “The Argonautica.”
You kept me full and entertained. I was that kind 
of round child. Gorging on what was left over. 
I didn’t want a real burden, my own ship or story. 
I didn’t want to go on ahead. I didn’t want to 
have to reverse into you. Into your apparatus. 
I never wanted nostalgia. We used to know each other,
remember? Dry. Humid. Dry. Humid. 
Not. Humid. Dry. Humid. Dry. Humid. Dry.
Why did we have to pry open our patch of dirt? 
Why couldn’t you always be acid wash
or those I CAN’T DRIVE 55 posters at the swap meet 
or sunglasses. I never wanted to lay questions around 
you. What if he takes another this year? What if 
he’s difficult to talk my way out of? What if he eats me 
only half-alive? What if all he is in his beach bum
orange is ghosts clothespinned to the laundry line?

Praise the Ocean for teaching me that home is not location as much as it is
belonging where I am wanted 

Praise the Ocean for always wanting me 
for washing my body in and naming it child 

Praise the way the water bites at my ankles 
but never breaks the skin 

Praise the skin on my ankle that had to break for the gun for the tatau drawn by
the gun’s mouth in the hands 

of a tufuga during my first tatau appointment 
on island when I was 17 years old 

Praise his cigarette break  
so I could complete my sobbing in peace. 

Praise the umu, the underground oven of hot rocks and fire cooking the sweet coconut milk in the center of salted leaves for palusami 

for the thick talo and soft fattiness of octopus tentacles 
Praise the crinkled crack of metal on the edge of every can of tuna 

greasy from oiled chunks of fish, peppered over a bowl of hot rice Praise the ground as dining room table 

as only place to eat 
at eating at the feet of our elders as the talking chief blessed us in prayer 

Praise the mother mosquito and her obsession with the back of my legs Praise the stench of repellant that stuck to my skin like boobie trap 

like tourist trick 
like 2nd generation 

like “not quite from here” 
Praise the heavenly scorch of heat behind my ears 

Praise the lowered heads and crossed legs atop each woven fala mat Praise the village of women who wove them 

the mulberry bark that was beaten enough to braid 
Praise the broken flip flops running alongside flattened frogs

on the road headed towards the church house
Praise the choir of children 

who sing with one tongue. 
Praise the way we lay our dead to rest in front of each house 

how there is no need for cemeteries 
if our kin never really die 

Praise the way they return home to us 
Praise home 

Praise us.

Winter rises southeast—
Deer gnaw withered apples
as morning star fades
above indigo canyon.

Concealed in tall feathergrass
mountain lion nestles.
His tan body, mesmerized
like a stone fetish.

Sun blazes amber rays.
Snow powders the deer trail.
A hunter whispers through mist
his flowered prayer,

Muukai-tra Hush-tseh,
Meish guy-you, gumaa-tsinee,
Mountain Lion Man,
it’s already morning, help me.

Climbing Hawk Mountain
through blue juniper terrain
mountain lion leaps,
an arrow blest with pollen.

Winter sets southwest—
Deer in shadow tinged purple
enters spruce tree house
on his breath of every color.

Now has been contrived in the increasing noonday

Some show of order wherein to be at rest,

Some stilling of the need that space be tended,

That time be pressed.

Where in our path was the ambitious clutter of morning,

The leaf shadow and stir, the brush and broom, 

Now at the base of the trees is a clean sunlight,

At the door, room

We shall sit with minds quiet, with the loftiness, though cooler,

That the sun has for its meridian,

In the fine short space before the roof eastward

Darkens again.

In the middle of every field,
obscured from the side by grass
or cornhusks, is a clearing where
she works burying swans alive
into the black earth. She only
buries their bodies, their wings.
She packs the dirt tight around
their noodle necks & they shake
like long eyelashes in a hurricane.
She makes me feed them by hand
twice a day for one full year: grain,
bits of chopped fish. Then she
takes me to the tin toolshed.
Again she shows me the world
inside her silver transistor radio.
She hands me the scythe.

^{Seoul, May 1980}

cherry blossoms are opening.    
Pink clouds canopy the road to town,    
wind shakes out sakura rain like piggy-bank coins.    
A new school year erupts.

I walk the long road to university.    
Cherry petals confetti my neck,    
my shoulders, like feathers.    
Gathering into silken wings.

The Japanese planted cherry trees    
when they came, tossing seeds that cavity    
her womb like spent bullets.    
More sinister now than tank tracks

And wreckages. Even sudden beauty and rebirth    
a Japanese image.    
The Korean girls stolen and    
numerous as planted seeds.

Japan calls these trees Tokyo Cherry,    
says their petals represent Japanese soldiers’    
brief but beautiful lives.    
I learned so a previous spring and wondered

What other miracles and newness    
were so planted? How did Korean    
spring occur before Japan    
came with flourishing destruction.

What is a first day or university    
without washes of pink and white    
without green men glittering    
black guns and boots mapping the path?

Tall whispering grasses also planted    
to cultivate order and grow goodness and cleanness    
forever. As I enter my city I see    
one in ironed uniform

stalk-still inside a gust of blossoms.    
The string inside me catches    
as blushing petals ceremoniously collect    
on his blood-green kevlar.

Here where the trees tremble with your flight
I sit and braid thin whips to beat you down.
How shall we ever find you who have gone
In little dresses, lisping through the town?

Great men on horses hunt you, and strong boys
Employ their arrows in the shallow air.
But I shall be heard whistling where I follow
Braiding long wisps of grass and stallion’s hair.

And in the night when thirty hawks are high
In pendent rhythm, and all the wayside loud;
When they are burning field and bush and hedge,
I’ll steal you like a penny from the crowd.